George Loring Brown, “View of the Road Leading to Castello Gandolfo Near Albano,” 1860,
The Rona and Martin Schneider Collection of Late 19th and Early 20th Century American Fine Art Prints.
Syracuse University Art Collection.
Rona and Martin Schneider Collection Exhibition to Open at Syracuse University’s Palitz Gallery
The Louise and Bernard Palitz Gallery at Syracuse University Lubin House, NYC, proudly presents “Selections from the Rona and Martin Schneider Collection of Late 19th and Early 20th Century American and European Fine Art Prints,” on view through November 15, 2018. Presented in recognition of the important 2017 gift to the Syracuse University permanent art collection from Rona and Martin Schneider of Brooklyn, New York, this exhibition features more than forty original prints, including etchings, drypoints, and mezzotints.
Edith Loring Peirce Getchell, The Overflow, 1883. Syracuse University Art Collection.
Rona Schneider, a well-known print dealer and member of the International Fine Print Dealers Association, specialized in late 19th- and early 20th-century American and European prints, especially those made as part of the “Etching Revival.” This exhibition, curated by Domenic Iacono, former director of the SUArt Galleries, highlights some of the important pieces in the collection, featuring renowned artists such as Stephen Parrish, Mary Nimmo Moran, Robert Swain Gifford, and Thomas Moran.
Otto Backer, Fondamenta dei Tolentini, 1880. Syracuse University Art Collection.
The New York Etching Club was founded in 1877. At their first meeting, Robert Swain Gifford made an etching that was printed by Leroy Milton Yale. An impression from that plate is in the exhibition. Over the next 20 years, members of the club produced thousands of prints, many of which were displayed in exhibitions held in New York City at the National Academy of Design, in Chicago at the World’s Fairs and the Art Institute, and in Europe at different venues.
Mary Nimmo Moran, Point Isabel, Coast of Florida, 1887. Syracuse University Art Collection.
The Etching Club helped to drive interest in the United States over the next few decades. By the end of 1932, print clubs and art societies could be found across the country, including in Philadelphia, Boston, Cincinnati, and Chicago. In Europe and America both, print organizations led to annual exhibitions of printed art and books that included original works of art. In 1879, Sylvester Rosa Koehler began the American Art Review and published original prints as part of the magazine. The “Works of the American Etchers” became a feature of the magazine, and a large number of the prints in this exhibition came from that publication.
James Craig Nicoll, Building an Elevator, 1881. Syracuse University Art Collection.
Iacono has commented, “This collection of late 19th-century American printmaking is one of the most significant gifts made to Syracuse University in many years for teaching art and helps cement the importance of the print in the Syracuse art collection.” He has also noted, “The Schneider collection adds to an already significant collection of work by noted artists, such as Whistler and Meryon, working during the Etching Revival.”
James David Smillie, A Bit on Marblehead Neck, 1883. Syracuse University Art Collection.
George Ayers, “Whirley Pops,” oil on panel, 16 x 16 in.
Fine art oil paintings for sale > “Five and Under” features more than 50 invited artists from all around the world, many who will be showing with Arcadia Contemporary for the very first time. The goal of the exhibition is to show skilled, contemporary painters with extremely diverse styles, all who appreciate draftsmanship, skill, and striving for a “signature style.” Every work in this exhibition will be priced at $5,000 or less.
Alex Venezia, “Melancholia,” oil on canvas, 15 x 20 in.Jeffrey Chong Wang, “The Secret,” oil on canvas, 24 x 36 in.Aron Wiesenfeld, “The Owner’s Daughter,” oil on panel, 14 x 11 in.Mary Jane Ansell, “Victorine,” oil on panel, 12 x 12 in.J. Louis, “Curiosity,” oil on panel, 18 x 12 in.Michelle Doll, “Couple,” oil on canvas, 24 x 24 in.
This exhibition will also celebrate the grand opening of Arcadia’s new 3,000-square-foot space in Pasadena’s historic Old Town shopping district.
“Five and Under” is on view at Arcadia Gallery (Pasadena, California) August 18 through September 7, 2018. For more information, please visit www.arcadiacontemporary.com.
This group show offers a variety of styles and subjects painted by four nationally acclaimed award-winning painters.
From the gallery:
Larry DeGraff, “Entangled,” oil, 10 x 20 in., $1,400
It’s not unusual to find Larry DeGraff at the end of a dirt road, brush in hand, trying to capture the light unique to that place and time. His goal is to share the beauty all around that many are too busy to see.
DeGraff showed impressive artistic talent at a young age and developed his skills towards a career in illustration. He eventually built a client list that included Warner Brothers and the Walt Disney Company. In the midst of tight deadlines and constant revisions, DeGraff missed the joy of creating that he remembered from childhood and began to paint for himself. He found inspiration in the Impressionists and the Hudson River School. Along with studio work, he committed to painting outdoors, which he found both a fast track for creative growth and a good excuse to be outside.
In 2011 DeGraff left his job as a Hallmark Cards artist to pursue painting full time. He has since won many awards in juried national exhibitions and has competed in over 40 plein air events. His work has been featured in Southwest Art magazine and he is represented by galleries in Colorado, Kansas, and Missouri. DeGraff and his wife, Gina, reside in Ozark, Missouri.
Kathleen Hudson, “Garrapata Surf,” oil, 20 x 30 in., $2,300
Kathleen B. Hudson lives and paints in Lexington, KY. She recently received the Grand Prize in the 6th Annual Plein Air Salon for her painting “Bright Morning, Timberline Falls,” which was featured on the July 2017 cover of PleinAir magazine. She was also recently named an “Artist to Watch” by Southwest Art magazine.
While earning her degree from Harvard University, Kathleen came to love the beautiful New England landscape as she painted, studied mountain travel narratives, and led backpacking trips for fellow students. Her love of the outdoors led to a newfound interest in plein air painting, and she began to take part in regional plein air painting competitions and festivals.
She also undertakes several national juried competitions each year, and when she’s not outside painting from life, you can find her in the studio creating larger scale landscapes that emphasize the dynamic interplay of light, shadow, and atmospherics.
Susan Lynn, “4 O’Clock,” watercolor, 11 x 14 in., $950
Susan Lynn is a nationally recognized watercolor artist. Painting primarily with transparent watercolor, she is captivated by the interplay between the land, the light, and wide-open spaces, and she believes that nature is a subject that speaks to the viewer in a visceral way, tapping into universal memories and emotions, and the human connection to the world around us.
Though accomplished in the field of architectural illustration, fine art painting has been her primary focus for many years. Lynn creates her paintings both in studio and en plein air,
a term coined by the French Impressionists meaning to paint the landscape from life, “in the open air.”
While painting outdoors with watercolor presents a unique set of technical challenges, she believes that it develops a greater sensitivity to the subtleties of light and the energy of the landscape. Her paintings are frequently described as luminous and serene.
Rodgers Naylor (work featured at top) finds a rich array of painting subjects close to home in Colorado and also throughout the United States and abroad, especially the Mediterranean region of Europe.
He works in an “alla prima” manner, usually beginning with a warm-tone underpainting and completing a painting in one session when possible. This method, since it involves painting directly into wet paint, allows great flexibility in mixing colors and attaining soft edges, and fosters a fresh, spontaneous approach to painting.
Naylor takes a strong interest in the effects of light versus shadow and warm versus cool colors, and is intrigued by the interplay between the landscape and its human inhabitants. He paints both in the studio and en plein air.
Additional Featured Artists
Grace Aldrich, “Elements of Style,” charcoal, 30 x 18 in., $1,200
Grace Aldrich works primarily in acrylic, graphite, and watercolor, but also sculpts and experiments with new mediums and techniques whenever possible.
Her artwork often challenges preconceived notions of beauty, utility, and reality by subtly pushing the limits of “normal” until it is pleasantly strange and often even surreal. Her imagination is fueled by her appreciation of the unnoticed details in her everyday surroundings. The study of light, atmosphere, and color are core aspects of her artwork.
She is fascinated by the idea of combining imaginative environments with a unique composition and lighting scheme in order to create worlds so real and full of life that you feel as though they might move while your back is turned.
Peter Hansen, “Ridge Light,” oil, 24 x 18 in., $1,400. All paintings and images provided courtesy of The Rice Gallery of Fine Art.
Peter J. Hansen was born and raised in Yosemite National Park, California. Being surrounded by this natural beauty for 14 of his early years was the subtle beginning of a lifelong fascination with landscape and light. His early art instruction began in Southern California with his grandmother, an artist and art instructor, as well as in high school.
Hansen’s education, military service, and eventual career afforded him the ability to travel and see the world. Boarding school and college in Utah allowed him to see the West and Southwest. Serving as an army captain in Germany granted him access to the great European cities to explore the wonderful museums. His careers in hotel industry management and computer sales led Peter all over the United States and Europe and brought the beginning of what would be his next profession, painting.
With a lifetime of inspiration from his travels, and a constant appreciation of art along the way, Peter began painting as a way to express his creativity and alleviate stress. He quickly discovered he had found his true calling and has been painting and creating ever since.
This show runs through September 2018 at Rice Gallery of Fine Art (Overland Park, Kansas). For more details, please visit www.thericegallery.com.
Argyle, Velvet and Denim
14 x 18 in.
Oil on birch
Available at Reinert Fine Art
Another of my museum series. This piece is an exploration into men and how they present themselves. I’ve always thought that Sargent’s Dr. Pozzi at Home evoked a feeling of confidence and dominance. It causes me to consider the men of today in comparison. Are they ‘allowed’ to come off so strongly anymore?
Heather’s paintings have dramatic lighting and mood drawing the viewer in from across the room. At closer inspection the play of paint and brushwork come to life, revealing Arenas’ passion for even the smallest surprises.
Heather, like most artists, began her love of art very early in life. Her grandmothers and her parents were influential and endlessly provided her with books, crafts, supplies and encouragement. She, of course was advised to follow a different path as she began her post high school education. Her ever present interest of the human form led her to briefly attend med school. Her studies of anatomy, art history and ceramics were a clue that art was her calling and should be followed through. Heather’s path has taken time with many twists and turns only to bring to light that oil painting excited her as much as the figure, and so she began her career as a professional oil painter.
If you are one of those people lucky enough to see Heather paint you will witness her joy and enthusiasm, singing and dancing with her brushes in hand. Her music choices run the gamut from hard rock to classical. “I listen to music and the music helps my brush seamingly move without assistance. Depending on the tune I can feel the beat ignite fire into my paintings.” Heather enjoys painting any subject but her first love is the figure. “The perfection of the human body, the curves, the movement, how a being sees and looks back at me, how it walks across a room, it’s all perfect. Figures are a vehicle for me to show my appreciation of the grace and mechanics of life’s ultimate creation.”
As a professional oil painter Heather has honed her technical skills with some classes, even more self-education and a lot of practice. Like all artists on their own personal journey, her focus has changed over the course of the years. At this point, light, mood and brushwork are the subjects that move her to put paint to canvas. “It doesn’t matter what the subject is, I am attracted to the way the light dances along the object, and in my eyes it sparkles and I get taken in.” Equally, she is excited to convey the mood of the scene before her. “Light and mood, they go hand in hand.” She stresses that she only paints what she sees beauty in and reinforces it by repeating words like sunshine, warmth, joy and sending positive vibes into her work. Drawing on her art education, she confidently dips into the mystery of painting, and the paint moves her into unexpected places. Her zeal guides her and she often finds that her brushwork leaves her surprises and instead of wiping it off she follows it through. “At this juncture of the painting it is about the paint, the big strokes, the broken color and the abstract spaces that appear. That combination allows me to let happy accidents happen and in turn play with the canvas in front of me.” Heathers unique and enthusiastic impressionist style gives the heart of the viewer a chance to use his imagination and participate in the telling of the story.
Heather has had many collectors say wonderful things about her work but one of her favorite quotes was from a gentleman who said, “When I look at your work it almost makes me want to cry.” Arenas says, “To touch someone at that level is the ultimate compliment for me as an artist”. Heather’s success lies within her insatiable desire to learn, her friendly outgoing personality and her giddiness for trying new things. “For me, painting is a never ending marvelous journey. There is no end to the avenues I can explore.”
Heather is a Master Signature artist with the Women Artists of the West and Associate of Distinction with American Women Artists.
Recent Awards
Women Artists of the West, Spring Online 2018 for “Modern Day Venus”, Honorable Mention Gateway Intl Painting Contest, December 2017 for “Passion”, Finalist
Gateway Intl Painting Contest, November 2017 for “Red in the Sun”, Finalist
Sedona Art Prize, August 2017 for “It Takes All Kinds”, Finalist
Sedona Art Prize, June 2017 for “Red in the Sun”, Finalist
Bold Brush, May 2017 For “Oscar and Sharon’s Big Day Out”, Best of Show
Sedona Art Prize, May 2017 for “Colorful Subject”, Finalist
WAOW Nat. Juried Exhibition 2016 for “Home on the Range”, Art of the West Editor’s Choice AWA National Juried Exhibition 2016 for “Orange Taffeta”, Finalist
WAOW Hot Summer Nights 2016 for “After the Dance”, Best Overall
WAOW Hot Summer Nights 2016 for “31st and Lexington”, Honorable Mention
OPA Online Showcase Spring 2016 “Belizean Chef”, Honorable Mention
AWA Spring Online Show 2016 for “Margaritas in Tubac”, Finalist
FASO August 2015 Bold Brush for “After the Lunch Rush” Finalist
Finalist, Bold Brush May 2015 for “Angel in Disguise”
Honorable Mention, CFAI Figurative show May 2015 for “Lady in Red”
Finalist, AWA Spring Online Show 2015 for “Farmers Market Flowers”
2nd Place, WAOW Spring Online show 2015 for “Farmers Market Flowers”
Matt Smith, NWR Best of Show, Bighorn Rendezvous, The Brinton Museum
The Brinton Museum (Big Horn, Wyoming) recently presented the Bighorn Rendezvous Art Show & Sale, featuring nearly 180 works of art by 33 members of the Northwest Rendezvous Group of Artists and seven guest artists.
The Northwest Rendezvous Group of Artists boasts the prestige of being the first contemporary Western artists group to introduce the “quick draw” at art events. Museum visitors had the opportunity to meet and talk with the artists working en plein air in various locations on the museum grounds, creating original art in what is a “quick on the draw” style of working.
Kathryn Mapes Turner and Ralph Oberg chasing the morning light
A spirited auction of quick-draw art on the Brinton Pavilion resulted in an auction that benefited the artists, the Northwest Rendezvous Group, and the Brinton Museum. In appreciation of the kindhearted generosity of our Bighorn Rendezvous Art Show & Sale sponsors, and the greater Sheridan community for its invaluable support of the Brinton, Saturday’s Quick Draw & Live Auction were offered as free admission, and all museum exhibits were open to the public, at no charge as well.
John Potter, “Vernal Equinox,” oil, 24 x 32 in.Krystii Melaine, “Owl Spirit Hunts the Blue Moon,” oil, 30 x 30 in.Greg Scheibel, “Crossing the Neva”Tony Hochstetler for his bronze “Tree Frogs on Cottonwood,” 56 x 25 x 42 in.
Participating Northwest Rendezvous Group of Artists:
William Alther (Denver, CO), Bye Bitney (Somers, MT), Joseph Bohler (Monument, CO), John Budicin (San Bernardino, CA), George Bumann (Gardiner, MT), Lorenzo Chavez (Parker, CO), Barry Eisenach (Arvada, CO), Josh Elliott (Helena, MT), Tony Eubanks (Clifton, TX), Gerald Fritzler (Mesa, CO), Veryl Goodnight (Mancos, CO), Tony Hochstetler (Fort Collins, CO), Gary Kapp (Provo, UT), Jim Lamb (Sammamish, WA), Joan Larue (Tucson, AZ), Robert Lemler (Phoenix, AZ), Huihan Liu (Santa Rosa, CA), Tom Lockhart (Canon City, CO), Jim Morgan (Mendon, UT), Ned Mueller (Renton, WA), Paul Mullally (Seattle, WA), Ralph Oberg (Montrose, CO), John Potter (Red Lodge, MT), Don Prechtel (Creswell, OR), Grant Redden (Evanston, WY), Rosetta (Loveland, CO), Tom Saubert (Kalispell, MT), Greg Scheibel (Bozeman, MT), Sandy Scott (Lander, WY), W. Steve Seltzer (Great Falls, MT), Matt Smith (Scottsdale, AZ), George Strickland (Tucson, AZ), and Jim Wilcox (Jackson, WY).
Joseph Keiffer, “Yellow Plums, White Cups,” oil on canvas, 8 x 10 in.
“Joseph Keiffer is a realist painter who credits the artists of the Hudson River School for his inspiration, yet, his sensibilities are completely modern,” says Courthouse Gallery (Ellsworth, Maine), which is hosting an exhibition of the artist’s oil paintings.
“Keiffer takes the viewer from brilliant sunlight to twilight, from panoramic vista to cozy interior, and from plastic pots brimming with splashy annuals to towering stacks of tipsy tin cups.”
He studied at the New York Studio School and graduated from Brandeis University with degrees in philosophy and art history. Following a year at Sotheby’s “Works of Art” course, Keiffer was employed by Sotheby’s as a cataloguer and appraiser of paintings, and after six years there, and three years at Doyle Galleries, he became a private art dealer and president of a nonprofit art foundation.
In his thirties, Keiffer began painting full-time. His work is in numerous national and international collections. Keiffer, who lives in New York City, finds inspiration for his painting by spending time in downeast Maine and the Catskills, NY.
Joseph Keiffer, “Mount Desert Island from Schoodic,” oil on canvas, 20 x 40 in.Joseph Keiffer, “Clearing Off,” oil on canvas, 54 x 36 in.Joseph Keiffer, “Elderly Couple,” oil on canvas, 20 x 16 in.Joseph Keiffer, “Hollyhocks,” oil on canvas, 18 x 15 in.
“Joseph Keiffer: Places Remembered” is on view at Courthouse Gallery August 15 through September 15, 2018. For more information, please visit www.courthousegallery.com.
Branzino for Two
28 x 22 in. (71 x 56 cm)
Transparent watercolor on paper
$6,500 Available through the artist
In Branzino for Two, artist Matthew Bird was inspired by the great Dutch masters, employing a dark background which allows light to starkly reveal the beautiful textures and colors on the table, each carefully studied with precision and clarity. Simple kitchen ingredients are transformed into exquisitely observed objects that demand contemplation. The gentle arch of the fish and marble veining in the mortar and pestle encourage one to move around the objects. The playful twist of lemon, gleam of copper, and water droplets on the leeks are a feast for the eyes. The use of transparent watercolor, a notoriously difficult and unforgiving medium, adds additional vibrancy.
Matthew also wanted to paint an ode to his wife’s favorite dish from their travels in Italy. Each of the elements is carefully arranged and rendered in the vivid colors and lifelike quality that denote Matthew’s signature style. The ingredients for a humble meal are elevated, allowing the viewer to pause and enjoy the beauty found in everyday objects.
Painter and art juror Iain Stewart wrote, “Matthew’s work is not defined by the subject, but rather by the painter himself, orchestrating what emotional response the viewer will take away, while allowing the freedom to explore and glean the hidden gems within it. It’s a joy to behold.”
Matthew maintains a studio outside Baltimore, Maryland, with his wife and children, where he paints with a deep love and respect for nature and life, enjoying both portrait and still life work.
“I have focused on developing my craft to capture the beauty of what surrounds me with precision and clarity,” he says, “and strive to convey that to all people through the universal language of representational art. It is my desire that when others see my work they may be inspired by the perceptible signs of the real Creator.”
Matthew has been featured in Fine Art Connoisseur Magazine as one of “Today’s Masters” (Feb. 2018); Watercolor Magazine as “Ones to Watch” (Dec. 2017); The Artist’s Magazine, as winner in the All Media Competition (July/August 2017); and in Splash: The Best of Watercolor book.
Branzino for Two traveled to Italy where it was awarded Honorable Mention in the 2018 Fabriano International Prize “Marche d’Acqua.”
Candice Bohannon (b. 1982 Sacramento, California) earned her BFA from the Laguna College of Art and Design. Her paintings, drawings and sculptures include penetrating, emotive figurative pieces, and intensely studied works from life and nature. Bohannon will be teaching and demonstrating at the 2nd Annual Figurative Art Convention & Expo (FACE) this November in Miami, Florida.
“I strive to portray the real yet intangible emotions, experiences, memories, and expectations of a living being; to capture the glimmer of life, the ethereal nature of the human soul, and our eternal search for comfort and familiarity in the sublime unknown. “
Her award winning work is contemporary yet naturalistic, soulful yet rational, and explores the deeply complex realm of human experience. It has been featured in dozens of publications, exhibited in several countries and museums, and is currently available through her website and several galleries throughout the US. She is married to fellow artist, Julio Reyes. The couple recently relocated to Texas, had their first child, and has begun offering workshops together.
Candice Bohannon, “Ember,” 2013, oil on panel, 11 x 12 in.Candice Bohannon, “Fire Cloud,” 2016, 19 x 32 in.
Q&A with Figurative Artist Candice Bohannon
Cherie Dawn Haas: Please tell us about your painting titled “Fire Cloud” (above). Candice Bohannon: The inspiration for “Fire Cloud” came while I was living in California. It was another dry summer, and there was an enormous wildfire burning through the forest. The fire burned so hot and fierce that it created mile high cloud systems that loomed ominously over the land and rained ash upon us for weeks. At the same time, someone dear to me was at a pivotal moment in her young life, the transition from childhood to adulthood. It was a tumultuous time for her at home, it weighed on her, and as she emerged from the naivety of childhood, there were many unanswered questions. The painting captures a moment’s pause while everything is uncertain except for the fire in her eyes. There is no going back. The future is as visible as the murky distance at dusk. The past goes up in smoke like the raging forest fire off in the distance — and truly, from such a great distance, there is a tranquil beauty to the smoldering ruin, if caught in just such a light as this. The same distant raging fire lurks within the calm demeanor of this girl; only a whisper of its true nature can be glimpsed. It is within each of us, a force of nature, a power untold. I feel this quote from Vincent Van Gogh expresses it in a way I can not:
“There may be a great fire in our soul, yet no one ever comes to warm himself at it, and the passers-by see only a wisp of smoke.”
Candice Bohannon, “Long Valley,” 2015, oil on mounted linen, 33 x 33 in.
CDH: What draws you to the figure in comparison to other subjects? CB: I have always loved working with the figure, and find that for me personally, it is the most difficult and rewarding subject matter. Nothing inspires me as fiercely as another human being, with all their exquisite flaws, personal struggles, and emotional complexity. My favorite works of art have always been figurative — a stunning landscape will take me on a personal journey, a still life will give me endless aesthetic pleasure, but a great figurative piece gets to the heart of what it is to be and leaves me changed for having seen it.
CDH: Please tell our readers a little about what you are doing at FACE this year. CB: At FACE, my husband Julio Reyes and I are doing a main stage demonstration together, and will also take part in a panel discussion with other artists. We have decided to do our presentation about oil painting on copper, and will be performing live painting demos on this material for the audience in Miami. Together we will share our experiences with painting on copper, let the audience know how they can get started with the substrate themselves, show some fine examples of work on copper plate, and demonstrate oil painting on copper painting from a live model onstage. This will be our first time demonstrating in front of such a large audience and we are excited about it.
Candice Bohannon, “Dementia,” 2008, oil on panel, 48 x 38 in.
CDH: What are you looking forward to the most about FACE? CB: I will be presenting and demoing at the conference, so I am really looking forward to helping the attendees to learn something new, meeting new people, seeing old friends, and enjoying the company of my fellow artists. Going to an art conference immerses you into a community of artists from all over the world, and you end up feeling connected to them afterwards. Some of the best moments from conferences like these are after all the demo’s are over, conversing late into the night with new friends. FACE will be packed with likeminded people, interesting presentations, and great art materials … it is an exhilarating experience I am looking forward to.
Michelle Jader, "Interlude," oil on three acrylic panels, 22 x 36 in.
From Robert Lange Studios:
“My objective for this body of work is to capture the kaleidoscope of experiences, feelings and emotions you might encounter at a show, carnival or amusement park,” Jader says of her solo exhibition of oil paintings titled “It’s Showtime.”
“The carnival is an invitation for us to embrace the world with a childlike sensibility of possibility and daring,” she says. “The lights, movement, sounds, and smells take you out of your head and you begin to play with your fears and inhibitions. When you step through the gate or behind the curtain, you literally become a part of the show.”
Michelle Jader, “Phantasmagorical 4,” oil on three acrylic panels, 15 x 20 in.
About Michelle Jader’s Process:
Once a theme is identified, Jader conducts a number of photo shoots with a variety of models to capture motion. She selects images in a series, develops compositions, and then systematically begins to build the painting on multiple layers of acrylic panels.
Michelle Jader, “Interlude 2,” oil on three acrylic panels, 22 x 36 in.
Jader weaves themes of personal growth throughout her work. “I’ve explored themes surrounding transformation through paintings of figures jumping, leaping and diving. While I anticipate that themes of change will be evergreen for me, I wanted to further explore motion and emotion in a new and dynamic way. This show challenged me, as the show itself invites viewers to do when they step into this world, to challenge yourself, break free from your fears. When we invite ourselves to be taken in by imagination and fantasy and suspend our hesitations, we can discover a deeper connection to ourselves.
“There are moments in life that are serene and times that are brimming with excitement. My own life is feeling a bit like an exhilarating, white-knuckle ride with climbs, drops, and spins. I simultaneously want to stay on and can’t wait to get off.”
Michelle Jader, “Phantasmagorical 2,” oil on two acrylic panels plus mirror, 15 x 20 in.
Simple amusement rides like the painting of the swings in “Interlude” (at top) or the carousel of “Phantasmagorical 2” may return you to the safety of innocence versus danger that challenges to push boundaries like the painting of “Phantasmagorical 1.”
Overall the exhibit is the perfect example of Jader’s unyielding ability to consistently evolve as a painter. “In my last solo show, I explored pushing the boundaries of my materials to show depth and movement with sculptures, perpendicular paintings, and paintings with up to 12 layers of stacked, acrylic panels,” she said. “For this show, I’m expanding beyond the figure and allowing a single thematic element to drive the show, which is amusement parks.” The end effect showcases the growth and possibilities of her artistic style.
Michelle Jader, “Embrace,” oil on four acrylic panels, 48 x 22 in.
“Jader’s fusion of contemporary materials with her expressive figurative approach creates a layered tension that’s mesmerizing. I’m thrilled to see Michelle’s progression to this new, vibrant body of work,” said collector Courtney Moore of San Francisco, CA.
“It’s Showtime: Michelle Jader New Paintings” is on display at Robert Lange Studios (Charleston, South Carolina) in August 2018.
Denise M. Fulton, “70s Still Life,” oil on board, 24 x 36 in.
Davis Gallery is pleased to announce its annual summer group show, “Reflector,” which will ask each artist to cast their gaze inwardly, and to capture either their whole self or an aspect of “self.” Most artists have chosen to depict themselves via abstractions and symbolic representations, as this exhibition is not limited to only realistic portraits.
Laurel Daniel, “The Heavens Declare, Divine Presence,” oil on canvas, 24 x 30 in.Joseph Hammer, “The Year of My Rebirth,” collage on masonite, 29 x 29 in.Randal Ford, “Black Wolf,” photograph, 40 x 50 in.
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